bradley meyer (25 Ergebnisse)

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PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

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Paperback. Zustand: Brand New. 313 pages. 11.00x8.50x0.74 inches. In Stock.

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Taschenbuch. Zustand: Neu. Neuware - As new initiatives to exploit technology and digital media for learning sweep the country, a learning center for teens at the Harold Washington Library in downtown Chicago demonstrates both the challenges and opportunities that these efforts present, a new report from the University of Chicago Consortium on Chicago School Research finds. YOUmedia attracts between 350 and 500 teens weekly, the report finds. The largest single demographic group attending YOUmedia is African American males, who historically have been underserved by after-school programs. With the guidance of adults and collaboration with peers, participants discover and pursue their interests through activities such as blogging, writing and sharing poetry, playing and reviewing electronic games, producing mu-sic and videos, and participating in book clubs. Key findings from the report include: -YOUmedia is cultivating a budding sense of community among teens who participate. This sense of community, along with peer relationships, serves as a potent force for driving teens to engage in digital media in new ways. The vast majority of teens say that at YOUmedia it is 'cool to be excited about your interests' and that they have met peers and mentors that share their interests. -A majority of YOUmedia participants report that they have improved their digital media skills due to YOUmedia. -The majority of teens also report that YOUmedia has helped them with their school work and better understand opportunities available to them after high school. -Staff members at YOUmedia have at times struggled to balance the imperative to let teens choose their own activities in the space with the desire to engage students in more structured learning activities. -Participation at YOUmedia differs substantially from teen to teen. While about 22 percent of teens regularly create original work, 28 percent use the computers to do their homework. A little over 30 percent use a variety of media, including video games, keyboards, and podcasts; and 18 percent primarily socialize and attend open mic sessions performed by other teens.

Zustand: New. Editor(s): Meyer, Bradley; Rice, Joel A. Num Pages: 104 pages. BIC Classification: 1KBB; JFSP2; JHBL; KCF. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly. Dimension: 156 x 230 x 5. Weight in Grams: 164. . 2012. Paperback. . . . . Books ship from the US and Ireland.

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Paperback. Zustand: Brand New. 520 pages. 10.25x8.25x10.00 inches. In Stock.

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Kartoniert / Broschiert. Zustand: New. KlappentextrnrnCongress has indicated a strong interest in ensuring that today&aposs young people, those age 16 through 24, attain the education and employment experience necessary to make the transition to adulthood as skilled workers and taxp.

Taschenbuch. Zustand: Neu. Neuware -Barry Le Va (1941-2021) is regarded as a moderniser of sculpture in post-1960s art. Kunstmuseum Liechtenstein presents the first retrospective since the artist's death.'I guess at that time the body was a new territory, and it had to be investigated.'Barry Le Va, 2003In his cross-disciplinary oeuvre, which is seen as beginning in the early days of process art and postminimalism, Barry Le Va succeeded in expanding the concept of sculpture. Not only did he break up the unit of form into countless particles, he also incorporated the principles of change, instability, and disruption as constants in his art.Kunstmuseum Liechtenstein presents the first retrospective since the artist's death, providing a survey of his work from the 1960s to his final groups of work. The thread running through this exhibition is the exploration of the relationship between the installations and the drawings.Executed with care and following detailed plans, Barry Le Va's installations are defined by the principles of chance, chaos and order. All his life, the floor was the artist's 'ground' and field for experimentation. First executed in 1966, his Distribution Pieces, scattered on the ground, gained him wide and instant public attention following a cover story in Artforum in November 1968.Drawing is an integral part of Le Va's oeuvre. On the one hand, he saw it as part of his thinking process; on the other, he understood drawings as 'diagrams that function almost like musical scores or compositions'. In this sense they often pave the way for the sculptural work, sometimes serving as a kind of 'plan view', while at the same time permitting interpretation and improvisation in situ. Other drawings are works in their own right.From the outset, the relationship between viewer and artwork was of the utmost importance to Le Va. His installations, which he likened to crime scenes, challenge the viewers to search for clues so as to reconstruct the act and the underlying concept. This approach is based on Le Va's profound interest in the crime genre: 'I became intrigued by the idea of visual clues, the way Sherlock Holmes managed to reconstruct a plot from obscure visual evidence.'The exhibition is accompanied by a three-volume publication in which the artist's voice is heard in particular through his 'Notes' (statements) and through the republication and first publication of interviews.The exhibition will travel to Fruitmarket, Edinburgh (26 October 2024 - 2 February 2025), and Museum Kurhaus Kleve (30 March - 29 June 2025).VfmK, Schwedenplatz 2/24, 1010 Wien 520 pp. Englisch.

Taschenbuch. Zustand: Neu. Neuware - Barry Le Va (1941-2021) is regarded as a moderniser of sculpture in post-1960s art. Kunstmuseum Liechtenstein presents the first retrospective since the artist's death.'I guess at that time the body was a new territory, and it had to be investigated.'Barry Le Va, 2003In his cross-disciplinary oeuvre, which is seen as beginning in the early days of process art and postminimalism, Barry Le Va succeeded in expanding the concept of sculpture. Not only did he break up the unit of form into countless particles, he also incorporated the principles of change, instability, and disruption as constants in his art.Kunstmuseum Liechtenstein presents the first retrospective since the artist's death, providing a survey of his work from the 1960s to his final groups of work. The thread running through this exhibition is the exploration of the relationship between the installations and the drawings.Executed with care and following detailed plans, Barry Le Va's installations are defined by the principles of chance, chaos and order. All his life, the floor was the artist's 'ground' and field for experimentation. First executed in 1966, his Distribution Pieces, scattered on the ground, gained him wide and instant public attention following a cover story in Artforum in November 1968.Drawing is an integral part of Le Va's oeuvre. On the one hand, he saw it as part of his thinking process; on the other, he understood drawings as 'diagrams that function almost like musical scores or compositions'. In this sense they often pave the way for the sculptural work, sometimes serving as a kind of 'plan view', while at the same time permitting interpretation and improvisation in situ. Other drawings are works in their own right.From the outset, the relationship between viewer and artwork was of the utmost importance to Le Va. His installations, which he likened to crime scenes, challenge the viewers to search for clues so as to reconstruct the act and the underlying concept. This approach is based on Le Va's profound interest in the crime genre: 'I became intrigued by the idea of visual clues, the way Sherlock Holmes managed to reconstruct a plot from obscure visual evidence.'The exhibition is accompanied by a three-volume publication in which the artist's voice is heard in particular through his 'Notes' (statements) and through the republication and first publication of interviews.The exhibition will travel to Fruitmarket, Edinburgh (26 October 2024 - 2 February 2025), and Museum Kurhaus Kleve (30 March - 29 June 2025).

Taschenbuch. Zustand: Neu. Barry Le Va | In a State of Flux | Fiona Bradley (u. a.) | Taschenbuch | 520 S. | Englisch | 2024 | VfmK | EAN 9783991531258 | Verantwortliche Person für die EU: VFMK Verlag für moderne Kunst GmbH, Schwedenplatz 2/24, 1010 WIEN, ÖSTERREICH, hello[at]vfmk[dot]org | Anbieter: preigu.

Taschenbuch. Zustand: Neu. Neuware - Congress has indicated a strong interest in ensuring that today's young people, those age 16 through 24, attain the education and employment experience necessary to make the transition to adulthood as skilled workers and taxpayers. In the wake of the December 2007-June 2009 recession, questions remain about the employment prospects of youth today and the possible effects on their future earnings and participation in the labour market. This book provides context for policy-makers on the youth employment situation. It includes data on labour force participation, employment, and unemployment in the post-World War II period, with a focus on trends since 2000. This discussion compares rates based on age, gender, race/ethnicity, and income, where applicable and also explores the factors that influence youth participation in the labour force and their prospects for employment.

Taschenbuch. Zustand: Neu. Neuware -Barry Le Va (1941-2021) is regarded as a moderniser of sculpture in post-1960s art. Kunstmuseum Liechtenstein presents the first retrospective since the artist's death.'I guess at that time the body was a new territory, and it had to be investigated.'Barry Le Va, 2003In his cross-disciplinary oeuvre, which is seen as beginning in the early days of process art and postminimalism, Barry Le Va succeeded in expanding the concept of sculpture. Not only did he break up the unit of form into countless particles, he also incorporated the principles of change, instability, and disruption as constants in his art.Kunstmuseum Liechtenstein presents the first retrospective since the artist's death, providing a survey of his work from the 1960s to his final groups of work. The thread running through this exhibition is the exploration of the relationship between the installations and the drawings.Executed with care and following detailed plans, Barry Le Va's installations are defined by the principles of chance, chaos and order. All his life, the floor was the artist's 'ground' and field for experimentation. First executed in 1966, his Distribution Pieces, scattered on the ground, gained him wide and instant public attention following a cover story in Artforum in November 1968.Drawing is an integral part of Le Va's oeuvre. On the one hand, he saw it as part of his thinking process; on the other, he understood drawings as 'diagrams that function almost like musical scores or compositions'. In this sense they often pave the way for the sculptural work, sometimes serving as a kind of 'plan view', while at the same time permitting interpretation and improvisation in situ. Other drawings are works in their own right.From the outset, the relationship between viewer and artwork was of the utmost importance to Le Va. His installations, which he likened to crime scenes, challenge the viewers to search for clues so as to reconstruct the act and the underlying concept. This approach is based on Le Va's profound interest in the crime genre: 'I became intrigued by the idea of visual clues, the way Sherlock Holmes managed to reconstruct a plot from obscure visual evidence.'The exhibition is accompanied by a three-volume publication in which the artist's voice is heard in particular through his 'Notes' (statements) and through the republication and first publication of interviews.The exhibition will travel to Fruitmarket, Edinburgh (26 October 2024 - 2 February 2025), and Museum Kurhaus Kleve (30 March - 29 June 2025). 520 pp. Englisch.

Taschenbuch. Zustand: Neu. Neuware.

Zustand: Used: Like New. LIVRE A L?ETAT DE NEUF. EXPEDIE SOUS 3 JOURS OUVRES. NUMERO DE SUIVI COMMUNIQUE AVANT ENVOI, EMBALLAGE RENFORCE. EAN:9781622574049.

Charlottenborg, København 2002. 4to. 99 sider. Heftet. Pæn med få brugsspor. Navn på inderside af omslag. * Vedlagt plakat.

Vintage studio still photograph from the 1964 sexploitation film. The first of Russ Meyer's "noir" cycle (1964-1965), sexploitation films shot in black-and-white, featuring powerful psycho-sexual female characters, male impotence, and a serious dramatic plot, involving less of the "nudie" filmmaking style so prominent in the director's early films. "Lorna," a voluptuous, sexually unfulfilled newlywed, becomes sexually awakened after being raped by an escaped convict while she is skinny-dipping in a river, and proceeds to invite the convict into her home while her husband is out working in the salt mines. 10 x 8 inches. Near Fine.

Zustand: New.

Tela , cm26.5x31, pp 168; figure a colori e in nero nel testo, 40 tavole a colori. Usato in buono stato, lievemente sbiadito il dorso della sovraccoperta.

Original black-and-white program for the 1964 film, printed for the Art Theatre Guild. The Art Theatre Guild (ATG) began in 1961 as an independent agency distributing films (mostly Japanese) rejected by major studios. The company operated until the 1980s, with theaters in Arizona, California, Colorado, Illinois, Kentucky, Massachusetts, Missouri, New Mexico, Ohio, and Tennessee. The first of Meyer's "noir" cycle (1964-1965), or "Gothic" period as Meyer puts it, a series of sexploitation films shot in black-and-white, powerful psycho-sexual female characters, male impotence, and a serious dramatic plot involving less of the "nudie" filmmaking style so prominent in the director's early films. Other films in his "Gothic" period include "Mudhoney" (1965), "Motorpsycho!" (1965), and the epic and legendary, "Faster, Pussycat! Kill! Kill! " (1965). "Fanny Hill" (1964) snuck in right after "Lorna," although that film is generally left out of the "Gothic" period. "Lorna" was written by James Griffith, who stars as the Preacher narrator of the film, and stars Lorna Maitland as a voluptuous, sexually unfulfilled newlywed. Her husband, Jim (Rucker), works in a salt mine all day and studies all night, giving Lorna too much time to herself. One day, while Lorna skinny-dips in a nearby river, an escaped convict (Bradley) rapes her in the reeds. The vile act could otherwise have been exploited, perhaps comically, by Meyer, but here the scene acts as a catalyst for one repressed woman's sexual awakening. Lorna invites the convict into her home while her husband is gone, prompting Jim's coworkers (among them the underrated Hal Hopper) to tease him about Lorna's infidelity. Things take a bitter, fatal turn when Jim returns home to discover Lorna and her object of desire. 5.5 x 8.5 inches, folded once as issued. Two horizontal creases and faint foxing, else Near Fine.